Wrapping Up 2025 with Jeremy Kleeman

Interview - December 23rd, 2025

QUICK QUESTIONS

• Favourite city you’ve performed in:

  Internationally, Tromsø, Norway (the ‘Gateway to the Arctic’) and in Australia, Brisbane – a city with many special performing memories for me.

  
  

• Is there an aria you could sing endlessly without ever tiring of it?

  Figaro’s ‘Non più andrai’. First aria I ever learnt and the role I’ve done most!

  
  

• What’s a dream role you haven’t had the chance to perform yet?

  Scarpia, Sweeney Todd, or any other villainous baritone starting with S apparently!

  
  

• Opera you think is a bit underrated:

  Biographica by Mary Finsterer – after two successful Australian productions I would love to see it performed internationally.

  
  

• Fun fact about you most people don’t know:

  The consonants in my name are in alphabetical order: J Kleeman (J-K-L-M-N).

Reflecting on 2025 and Looking Ahead

Professionally, the highlight has been singing my first La bohème (Schaunard) for Opera Queensland and making my debut with the New Zealand Symphony Orchestra in Rossini’s Stabat Mater. It was also very rewarding to have the chance to mentor the OQ Young Artists this year.

In terms of lessons learned: I covered three roles at once for La Cenerentola at the start of the year. I’m not sure my brain has fully recovered from all those notes and words bouncing around! Two roles at once is my new limit…

I’m also focusing on leaving behind the need to control things that are beyond my control. It’s something I’ve been thinking about for a while, but a tricky habit to shake!  An imperative for any singer in my opinion.

Looking Ahead to 2026

In March and April, I tackle two massive roles back-to-back. First is Verdi’s Requiem with Queensland Ballet in Christian Spuck’s acclaimed staged production. It will be an exciting challenge to perform such an intricate work for the first time, from memory, whilst immersed in the dancing.

I then sing Dandini for Opera Queensland in Laura Hansford’s joyous production. It’s a dream role, notable for demanding coloratura and great comic moments! It ought to be a huge amount of fun.

Coming Back to Australia

It was fantastic to experience life as a singer in the UK and Europe and to be among so many talented and motivated young artists there. However, that perspective helped me realise that working and living in Australia is where I am most fulfilled.

I am grateful for the chance to premiere new operas and create new productions here. Having the balance of the Australian lifestyle also: my friends, family, sport, and raising my young son, is very important to me.

On Vocal Evolution

It is an exciting time with more repertoire opening up for me. I’m certainly much more comfortable at the top of my voice than I ever have been, which opens up more baritonal roles. That said, I still really enjoy roles that feature the lower end, so I'm enjoying exploring roles like Schaunard, Dandini and later next year, Ottone with Victorian Opera, that traverse voice types.

On Improving the Australian Opera Industry

I love how much new opera we commission in Australia, particularly the work of companies like Sydney Chamber Opera who are on the cutting edge. I love that we have high production values and we look after our singers well regarding accommodation and travel, which isn’t always the norm internationally.

In terms of change, I would love to see a tradition in the vein of NYIOP where all the major opera companies and orchestras come together for an open audition round and convention every few years. We have so many brilliant Australian singers, so I would love to see us unite to improve access and pathways.

Image provided by Kurt Sneddon (2025)